{"id":87,"date":"2026-03-09T15:35:32","date_gmt":"2026-03-09T14:35:32","guid":{"rendered":"https:\/\/www.alesruzicka.com\/?page_id=87"},"modified":"2026-03-27T10:58:11","modified_gmt":"2026-03-27T09:58:11","slug":"stale-zive","status":"publish","type":"page","link":"https:\/\/www.alesruzicka.com\/?page_id=87","title":{"rendered":"St\u00e1le \u017eiv\u00e9"},"content":{"rendered":"\n
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St\u00e1le \u017eiv\u00e9<\/strong><\/p>\n\n\n\n

Barokn\u00ed prostor za tichem Ale\u0161e R\u016f\u017ei\u010dky v Galerii Dolmen<\/p>\n\n\n\n

Stilleven. Klido\u017eit\u00ed. P\u016fvodem nizozemsk\u00fd term\u00edn z po\u010d\u00e1tku 18.stol. Nature morte. Expresivn\u00ed v\u00fdraz v intenc\u00edch rom\u00e1nsk\u00e9ho temperamentu akcentuje fascinaci smrt\u00ed. Still-life. Dosud, st\u00e1le \u017eiv\u00e9. V \u00favodn\u00edm still nav\u00edc z\u00e1van v\u011b\u010dnosti, doprov\u00e1zej\u00edc\u00ed do\u010dasn\u00e9 \u017eit\u00ed. \u010ce\u0161tina vytvo\u0159ila term\u00edn s n\u00e1dechem tajemna za. Z\u00e1ti\u0161\u00ed. V Dolmenu se Ale\u0161i R\u016f\u017ei\u010dkovi poda\u0159ilo nepodlehnout labyrintu v\u00fdstavn\u00edch prostor a v \u010dist\u00e9, vyt\u0159\u00edben\u00e9 instalaci dost\u00e1t snad v\u0161em obsah\u016fm \u017e\u00e1nru a p\u0159idat navrch.<\/p>\n\n\n\n

Z\u00e1ti\u0161\u00ed. Za tichem prvn\u00ed vrstvy se tu na pl\u00e1tnech rozehr\u00e1v\u00e1 symfonie. Za prvn\u00ed oponou se otv\u00edr\u00e1 oce\u00e1n nekone\u010dna, ohromuj\u00edc\u00ed barokn\u00edho mo\u0159eplavce. Z\u00e1ti\u0161\u00ed p\u0159edpokl\u00e1d\u00e1 smyslov\u00fd z\u00e1\u017eitek. Z\u00e1\u017eitek kr\u00e1sy i pouh\u00e9 existence v\u0161edn\u00edch p\u0159edm\u011bt\u016f i v\u011bc\u00ed zvl\u00e1\u0161tn\u00edch a vzru\u0161uj\u00edc\u00edch. Navzdory ne\u017eiv\u00e9mu klidu jde o \u017eivot a jeho percepci. \u017dijeme, vn\u00edm\u00e1me smysly, z\u00e1ti\u0161\u00ed zrcadl\u00ed vztah k hmot\u011b, vypo\u0159\u00e1d\u00e1v\u00e1 se s jej\u00edmi limitami. Mal\u00ed\u0159sky p\u0159edpokl\u00e1d\u00e1 mimo\u0159\u00e1dn\u00fd cit pro zrakov\u00e9 i hmatov\u00e9 hodnoty. Ale\u0161 poch\u00e1z\u00ed z Bechyn\u011b, p\u0159ed Akademi\u00ed zde studoval keramickou \u0161kolu, a k materii, kter\u00e9 je vhn\u011bten \u017eivot, nem\u00e1 daleko ani na obraze. Je v\u00fdsostn\u011b smysln\u00fd kolorista, a neboj\u00edm se jej v\u00fdznamem p\u0159irovnat k Josefu Navr\u00e1tilovi na jeho v\u00fdv\u011bsn\u00edch \u0161t\u00edtech. Nem\u00e9n\u011b d\u016fle\u017eit\u00fd je v jeho tvorb\u011b d\u016fraz na kr\u00e1snou hmotu, belle mati\u00e8re, zprost\u0159edkovan\u00fd past\u00f3zn\u00ed, m\u00edsty a\u017e socha\u0159sky modelovanou malbou a virtu\u00f3zn\u011b podan\u00fdmi materi\u00e1ly. Pe\u0159\u00ed, podobn\u011b jako u Purky\u0148ovy sn\u011b\u017en\u00e9 sovy, se prachov\u011b chv\u011bje, sn\u011bhov\u00e1 pe\u0159ina na hrob\u011b zazebe a vyvol\u00e1 pocit pom\u00edjivosti, spojen\u00fd s \u201epevn\u00fdm\u201c skupenstv\u00edm vody, umocn\u011bn\u00fd ohn\u011bm \u201ev\u011b\u010dn\u00e9ho sv\u011bt\u00fdlka\u201c. Navr\u00e1til a Purkyn\u011b jsou ikony \u010desk\u00e9ho um\u011bn\u00ed z\u00e1ti\u0161\u00ed 19.stolet\u00ed. R\u016f\u017ei\u010dka je obdobn\u00fdm zjeven\u00edm sou\u010dasn\u00e9 malby. Ohromn\u00e1 z\u00e1ti\u0161\u00ed navzdory klidn\u00e9mu \u017e\u00e1nru jsou fascinuj\u00edc\u00edm prostorem barokn\u00edho neklidu. Nep\u0159edstavuj\u00ed v\u017edy re\u00e1ln\u00e1 spole\u010denstv\u00ed p\u0159edm\u011bt\u016f, jde tu o my\u0161lenkov\u00e9 instalace, zachycen\u00e9 klasickou malbou. Automat na sv\u00ed\u010dky, p\u0159ihr\u00e1dky kolumb\u00e1ria. Holoubci na n\u00e1hrobn\u00edm kameni, atlasov\u00e1 perle\u0165 v um\u011bl\u00e9m alabastru. \u017div\u00fd, a nebo mrtv\u00fd? L\u00e1ska a\u017e za hrob. H\u0159bitovn\u00ed kv\u00edt\u00ed, je\u0161t\u011b \u017eiv\u00e9 a ji\u017e vadnouc\u00ed, kv\u011btinov\u00e9 mumie z voskovan\u00e9ho pap\u00edru. \u010cern\u00e9 obrazy, kde z barokn\u00ed temnoty prosv\u00edt\u00e1 tajemstv\u00ed, dopl\u0148uje barevn\u00e1 antiteze v k\u0159iklav\u011b pestr\u00fdch pou\u0165ov\u00fdch z\u00e1ti\u0161\u00edch. Kv\u011btiny, op\u011bt pap\u00edrov\u00e9, te\u010f ze st\u0159elnice na \u0161pejli, pr\u00e1v\u011b darovan\u00e9. Z v\u011b\u010dn\u00e9 a pom\u00edjiv\u00e9 l\u00e1sky. Srdce z pouti. Kolikr\u00e1t je\u0161t\u011b?<\/p>\n\n\n\n

Ale\u0161 R\u016f\u017ei\u010dka je expresivn\u00ed lyrik. Malbu rozehr\u00e1v\u00e1 v mnoha vrstv\u00e1ch v osobn\u00ed kontemplaci, kter\u00e1, jako romantick\u00e1 symfonie, st\u0159\u00edd\u00e1 dynamick\u00e9 v\u011bty expresivn\u00edho rozmachu s lyrick\u00fdmi pas\u00e1\u017eemi, vykresluj\u00edc\u00edmi jemn\u00e9 chv\u011bn\u00ed ka\u017edi\u010dk\u00e9ho p\u00edrka. Monument\u00e1ln\u00ed pl\u00e1tna navzdory rozm\u011br\u016fm nepostr\u00e1daj\u00ed intimitu. Pot\u0159eba dost\u00e1t autenticit\u011b pr\u00e1v\u011b pro\u017e\u00edvan\u00e9ho vede k p\u0159emalov\u00e1v\u00e1n\u00ed star\u00fdch vrstev. Pl\u00e1tna tak nejsou jen mal\u00ed\u0159sky zpracovanou my\u0161lenkou, ve sv\u00fdch vrstv\u00e1ch jsou  podobn\u011b jako informeln\u00ed obrazy z\u00e1znamem procesu. P\u0159edstav\u011b o romantick\u00e9m obrazu naprosto vzd\u00e1len\u00fd informel lze zd\u00e1nliv\u011b paradoxn\u011b pro d\u016fraz na ryze osobn\u00ed a z\u00e1rove\u0148 existenci\u00e1ln\u00ed pro\u017eitek sp\u0159\u00edznit pr\u00e1v\u011b s um\u011bn\u00edm romantismu. Pak je mo\u017en\u00e1 interpretace nikoli pseudoromantick\u00e9ho putov\u00e1n\u00ed zp\u011bt, ale st\u00e1le otev\u0159en\u00e9 cesty. Ale\u0161 R\u016f\u017ei\u010dka se v tomto sv\u011btle naprosto p\u0159esv\u011bd\u010div\u011b, bez k\u0159e\u010de demagoga st\u00e1v\u00e1 apologetou obrazu a dokazuje, \u017ee malba, pokud se c\u00edt\u00ed a um\u00ed, je v\u011b\u010dn\u011b \u017eiv\u00e1 a aktu\u00e1ln\u00ed. Still alive.<\/p>\n\n\n\n

Lucie \u0160iklov\u00e1<\/p>\n<\/div>\n\n\n\n

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Zatisi III, 2006, akryl na sololitu, 47×122 cm<\/figcaption><\/figure>\n\n\n\n
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Zatisi II, 2006, akryl na sololitu, 47×122 cm<\/figcaption><\/figure>\n\n\n\n
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Zatisi v Bechyni, 2008, akryl na sololitu, 220×122 cm<\/figcaption><\/figure>\n\n\n\n
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Zatisi I, 2006, akryl na sololitu, 43×122 cm<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale ziveIV, 40×40 cm, akryl na platne, 2010<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive, 40×40 cm, akryl na platne, 2010<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive XII, 40×40 cm, akryl na platne, 2010<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive XI, 2010, akryl na platne, 40 x 40 cm<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive III, 2010, akryl na platne, 40 x 40 cm (6)<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive III, 2010, akryl na platne, 40 x 40 cm (5)<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive III, 2010, akryl na platne, 40 x 40 cm (4)<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive III, 2010, akryl na platne, 40 x 40 cm (3)<\/figcaption><\/figure>\n\n\n\n
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Kufr VIII, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Z cyklu Stale zive III, 2010, akryl na platne, 40 x 40 cm (2)<\/figcaption><\/figure>\n\n\n\n
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Kufr VII, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr VI, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr V, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr IX, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr IV, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr III, 2023, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Kufr I, 2023, akryl na platne, 170 x 200 cm (2)<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium, IV, 2025, 40 x 40 cm, komb. techn. na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium XVI, 2025, 40 x 40 cm, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium XIX, 2026, akryl na platne, 40 x 40 cm<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium XIV, 2025, 40 x 40 cm, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium XIII, 2025, 40 x 40 cm, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium XI, 2025, 40 x 40 cm, komb.techn. na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium VIII, 2025, 40 x 40 cm<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium VII, 2025, 40 x 40 cm<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium VI, 2025, akryl na platne, 40 x 40 cm<\/figcaption><\/figure>\n\n\n\n
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kolumbarium II, 2025 40 x 40 cm, komb. techn. na platne<\/figcaption><\/figure>\n\n\n\n
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Kolumbarium I, 2025, 40 x 40 cm, komb.techn.<\/figcaption><\/figure>\n\n\n\n
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EKG, 2002 – 2007, 200×140, komb.technika na platne<\/figcaption><\/figure>\n\n\n\n
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Dusicky, 240×180 cm, akryl na platne, 2010<\/figcaption><\/figure>\n\n\n\n
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Dekorace, akryl na platne, 200 x 140 cm, 2011<\/figcaption><\/figure>\n\n\n\n
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Dar spleenu, akryl na platne, 70 x 50 cm, 2010<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

St\u00e1le \u017eiv\u00e9 Barokn\u00ed prostor za tichem Ale\u0161e R\u016f\u017ei\u010dky v Galerii Dolmen Stilleven. Klido\u017eit\u00ed. P\u016fvodem nizozemsk\u00fd term\u00edn z po\u010d\u00e1tku 18.stol. Nature […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-87","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/87","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=87"}],"version-history":[{"count":4,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/87\/revisions"}],"predecessor-version":[{"id":289,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/87\/revisions\/289"}],"wp:attachment":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=87"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}